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Latin Jazz by Victor Mendoza When Yamaha Artist Rep. John Wittmann asked me to write this article as a follow-up to the Latin Summit feature, I decided to talk about what works for me as an educator and as a performer, and to make suggestions about what is available for studying this music. Mainly, I'd like to focus on Latin jazz and general Latin rhythmic development. Please note that when I use the term Latin, it's only in a general sense and for the purpose of this |
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article. There are so many stylistic
differences within Latin-American and Caribbean music which deserve
careful attention. Don't assume that everyone in the business of Latin music truly understands or describes the music correctly when talking about it. There are record producers, film producers, orchestra managers, festival producers, and even club owners who often confuse Caribbean dance music with Latin jazz, for example. I present clinics on the subject around the world and it never ceases to amaze me how many students want a quick and easy recipe for learning to play Latin music, or any music for that matter. Latin music is not a side dish-it's a five-course meal and you've just got to dig in. Technology has made it easier to obtain information, but it only |
allows us to access it faster, not necessarily
deeper. There is no substitute for meticulous study and hard
practice. As we say in Spanish, you have to "chew"
the information, not take it in already digested. I come across so many musicians, composers, and arrangers who pretend to know "enough" about the subject, and yet they use incorrect terminology or they play or compose wrong patterns in a particular dance style. Then they wonder why they don't get called back to the gig! Playing a Spanish Phrygian scale or ll-V montunos endlessly won't do. You must get into the rhythmic aspects of all this music. Don't be intimidated by the whole subject, or by other players. It can be overwhelming, so you have to remember to be patient and take one concept at a time. The rhythms found in Latin music affect not only popular music and jazz, but also classical music. Of |
particular interest to classical composers and
performers would be to listen to how folkloric rhythms are handled
by composers such as Antonio Lauro of Venezuela, Heitor Villalobos
of Brazil, Lecuona of Cuba, Ginastera of Argentina, and Carlos
Ch†vez and Revueltas of Mexico. There are many very interesting
folkloric dance forms from each of these countries. You will also find many examples of 6/8 time in most Latin-American and Caribbean music, each with its own particular phrasing and syncopations. For jazz musicians, playing a tune like "All Blues" will be more intriguing with rhythmic patterns used in the music from Mexico (especially Veracruz), Venezuela, Peru, and Argentina. So how does someone make Latin music a part of his or her playing, composing, arranging, or simple enjoyment? You start by listening to the right composers and performers. |
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What to listen for It is very important to be able to distinguish between various styles when listening to Latin music. A bit of information that used to be included in old records (yes, LPs!) was the dance style of the title track, such as mambo, cha-cha-ch†, etc. This is important for tempo consideration and accompaniment patterns. Some recordings still include that. I also find it very useful to know how to play a certain style the way it was played in a particular era. For example, the role of the bass has changed enormously since it was first introduced into the group format in the 1920s. When it comes to Afro-Cuban drum set playing, drummers should first listen to artists like Tito Puente and Manny Oquendo, then move on to players like Ignacio Berroa, Horacio "El Negro" Hern†ndez, Alex Acu§a, Steve Berrios, and Antonio S†nchez. Pay attention to how they play time, and not just their "chops." They are master accompanists who work with form, dynamics, and all the ingredients that make them great musicians. Tip: I find that when listening to Afro-Cuban music, placing the pulse on the upbeat will make it easier to feel the time. This is because the bass usually anticipates the harmony and it seems to push the time forward. This will also help you when you're improvising over changes. I strongly suggest the study of Latin bass lines and there are several good books on the subject. |
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Developing rhythmic vocabulary Rhythm section pointers: |
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Questions or comments: vmendoza@berklee.edu. website www.victormendoza.com Victor is a professor at the Berklee College of Music in Boston where he leads Latin jazz ensembles and teaches vibraphone. His performances include concerts with Paquito D'Rivera, Claudio Roditi, Danilo PÇrez, Giovanni Hidalgo, and Horacio "El Negro" Hern†ndez. Of Victor's most recent CD, "Black Bean Blues," critic Mark Holston of JAZZIZ Magazine wrote: "On Black Bean Blues, Mendoza makes a serious bid to be recognized as the genre's leading vibraphone practitioner and as one of today's most resourceful composers working with Latin rhythms." Victor is a Yamaha, Vic Firth, Toca, Zildjian, and Shure performance artist. |
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Recordings
following and other
videos are available through www.descarga.com. Some videos include: